“Accrochage” at Punta della Dogana, Venice
Punta della Dogana presents “Accrochage”, a collective exhibition curated by Caroline Bourgeois.
“Accrochage” brings together nearly seventy works that have not been on display since they became part of the Pinault Collection and over two thirds of the artists have never been presented in an exhibition of the collection. Specifically conceived for Punta della Dogana, the show will take up the entire exhibition space of the museum.
To develop this collective exhibition, the curator decided to follow precise guidelines, almost like the rules of a game, instead of focusing on a theme, a period of time or an artistic movement. As Caroline Bourgeois said, “I have selected mainly significant bodies of work that are the consequence of a gesture, of a minimal thought, that evoke both a sense of emptiness and a mise en abyme of a dimension, or a moment, of art history. […] Even though they are all very different, these creations all share a certain simplicity, a sense of broadening that somehow create more space for the other, therefore, for the visitor. The freedom felt when facing these works is what we wanted to encourage with “Accrochage”. The title itself – generic, neutral, almost in the background—leaves space to the works and seems to simply suggest: look carefully. The works on display, then, lead us to question what we look at, invite us to look carefully instead of merely seeing, thereby creating a place where emotion and sensitivity are as important as optical perception and thoughts.”
The title of the exhibition “Accrochage” thus reflects the curator’s choice to present a selection of pieces from the Pinault Collection, bringing together creations by established and emerging artists, without imposing a point of view. The visitor is invited to interpret the works through his own personal sensitivity, to discover, as he walks in the exhibition rooms, the threads that are woven between them.
“Accrochage” brings together works by thirty artists. Twenty-one have never been presented in an exhibition of the Pinault Collection—Absalon, Nina Canell, Tacita Dean, Peter Dreher, Fernanda Gomes, On Kawara, Edward Krasi?ski, Guillaume Leblon, Sol LeWitt, Bernd Lohaus, Goshka Macuga, Fabio Mauri, Prabhavathi Meppayil, Michel Parmentier, Florian Pumhösl, Tino Sehgal, Haim Steinbach, Niele Toroni, Günther Uecker, DeWain Valentine, Cerith Wyn Evans—while nine of them are historical artists of the collection—Pier Paolo Calzolari, Pierre Huyghe, Louise Lawler, Jean-Luc Moulène, Henrik Olesen, Philippe Parreno, Charles Ray, Thomas Schütte, Franz West.
at Punta della Dogana, Venice
until 20 November 2016
Above, top: Goshka Macuga, Of what is, that it is; of what is not, that it is not 1, 2012; Of what is, that it is; of what is not, that it is not 2, 2012
Above, bottom: Niele Toroni, Miroir d’eau, Septembre 1973, 2013; Miroir d’eau, Octobre 1973, 1973; Vert Wagon, Juillet 1977, 1977
Pier Paolo Calzolari, Senza titolo (Materassi), 1970
Peter Dreher, Tag um Tag guter Tag (Day by Day Good Day) (Day Set), 1974-2014; Tag um Tag guter Tag (Day by Day Good Day) (Night Set), 1974-2013
Fabio Mauri, Schermo, 1970; Drive In 2, 1962; Schermo carta rotto, 1957-1990
Fabio Mauri, Schermo Fine, 1960; Schermo, 1970
Prabhavathi Meppayil, Berlin September / Five, 2014; Henrik Olesen, Untitled, 2000
Charles Ray, Young Man, 2012
Cerith Wyn Evans, We are in Yucatan and every unpredicted thing, 2012-2014
Jean-Luc Moulène, Nœud 5.1 Varia 01 (Paris, June 2010), 2010
“Accrochage” installation views at Punta della Dogana, Venice, 2016
Courtesy: the artists; Archivio Fondazione Calzolari; Galerie Chantal Crousel, Paris; Giorgio Benni, Rome; Koening & Clinton, New York. Photo: Fulvio Orsenigo